In a stunning display of artistic evolution and strategic foresight, Russian pop sensation Zivert recently captivated thousands at her massive Moscow concert. Far from a mere performance, it was a meticulously crafted journey through the annals of sound and style, demonstrating how a potent blend of retro nostalgia and modern ingenuity can redefine the live music experience.
The Shifting Tides of Russia`s Music Scene
For the past few warm seasons, Moscow`s grand arenas have increasingly become the proving ground for local musical talent. The initial shock following the 2022 international music industry exodus appears to have subsided, making way for a resilient domestic scene. Financial currents are finding new channels, with major corporations now investing in “ecosystems” that encompass streaming platforms, festivals, and ticketing systems. Where once global headliners commanded the stage with corporate sponsorships, local stars are now the focus, enabling them to mount increasingly ambitious shows in major cities like Moscow and St. Petersburg.
This paradigm shift, while not a complete panacea for the industry`s previous woes, is undeniably fueling an impressive realization of local artists` creative and production ambitions. And to the delight of all involved, audiences are responding with enthusiasm, despite ticket prices that, according to recent statistics, have seen a notable increase. It seems “locality,” much like fashion, is proving itself to be a surprisingly dynamic trend.
A Kaleidoscope of Sound and Vision
Zivert`s show was, quite simply, proportional to the stadium`s colossal scale – a lot of everything. The stage boasted three massive screens, the main one towering almost as high as a nine-story building. A three-tiered stage allowed performers to move seamlessly between the foreground and behind a translucent main screen. A lengthy catwalk with pneumatic lifts, ten towers ablaze with dynamic light shows, and pyrotechnics that evoked a city-wide celebration (complete with flamethrowers occasionally channeling Rammstein`s fiery theatrics) rounded out the visual feast.
The concert kicked off with Zivert performing “Egoistka” acoustically on the catwalk, immersed amidst the fan zone. From there, a powerful entertainment machine roared to life. Under a barrage of fireworks, models adorned in retro outfits paraded across the catwalk, led by fashion influencer Ksenia Shipilova and designer Alexander Rogov. Fifty dancers, equally steeped in retro flair, enveloped the star, initiating a spirited pursuit of perfection.
“My perfectionism sometimes borders on madness; my eyes are like five-ruble coins from fear, and I have bird sounds on my phone to calm down,” Zivert confessed to journalists hours before the show. “But after the rehearsal, I sat in my dressing room and realized I just needed to let go. Let it be imperfect in places, but real.”
Truth be told, if Zivert “let go” of anything, it was on a very short leash. The production, a six-month endeavor, included a month and a half of video art creation by forty designers. The result was a highly dynamic show, where the retro theme was executed with decidedly modern means. Performers navigated the stage with energetic precision, at times seemingly defying the laws of physics. The massive screen was utilized to its last pixel, and Zivert herself sang from elevated platforms and almost among the crowd, danced with live performers and animated characters, and appeared meticulously rendered on magazine covers and billboards. In essence, she was everywhere.
Changing outfits and transitioning between hits from various albums, Zivert transformed from a “pin-up doll” to a “disco fury.” She managed to engage in conversation, play the piano (much to the likely dismay of any potential guest stars like Igor Krutoy, who found himself without a role this time), and bring collaborators onto the stage. Lyriq joined her for “Forever Young,” while the duo “Ochki i Koltsa” performed “Eda Nevkusnaya” (“Tasteless Food”). The setlist encompassed twenty-seven tracks, including “Goodbye,” released just before the show. The rain, a bonus from nature, added an extra layer of drama (unlike those under the covered grandstands, the pit audience and performers on the catwalk were treated to nature`s bounty), but thankfully, short circuits and slippery falls were avoided.
The Audience: A Resounding `Yes` to Retro
All the world`s pixels, pristine sound, and brilliantly choreographed dances can`t salvage a concert if the audience, especially in a vast venue, isn`t eager to participate. Zivert`s fans proved to be highly responsive and well-prepared. They embraced the call to don retro attire, and little encouragement was needed for them to sing along. Pink leggings, wigs, and glitter shimmered throughout the crowd, contributing to a carnival-like atmosphere.
Towards the finale, a rather potent, almost defiant, musical statement was delivered. A cover of Eurythmics` classic anthem “Sweet Dreams” fit perfectly with the overarching retro concept, stirring a powerful sense of nostalgia – primarily for the bygone era of musical cosmopolitanism.
A Minor Glitch in the Matrix: The Monologue
While Zivert typically engages in spoken-word segments during her concerts, this time, the verbiage significantly increased, emanating from both the stage and screens during video intermissions that aimed to explain the show`s retro concept. While filling pauses for costume changes is always a challenge, the producers chose what felt like the most contentious method.
In a specially filmed mini-movie, Zivert is seen pulling up in an 80s American car to a vintage gas station, proceeding to deliver a rather lengthy discourse on why “things were better back then.” The chosen aesthetic, perhaps intended to evoke American cinema of the video salon era, broadly suited the show`s atmosphere (though perhaps a Soviet “Zaporozhets” at a local gas station might have resonated more with the local audience). However, the segment`s runtime far exceeded its conceptual depth. The articulated thoughts on the analog era were, to put it mildly, not novel, and this collection of platitudes dragged on for an extended period. At stadium shows, brevity in speech is usually a virtue if the goal is to maintain audience engagement. Though, in this case, the crowd`s attention could swiftly be rekindled with the mere commencement of the next hit.
The Evening`s Epigram
“She`s like a young Ponarovskaya at a rave!” a witty comment reportedly echoed from the VIP section as Zivert, in all her retro splendor, graced the stage. Indeed, nostalgic vibes, it seems, can inspire the most delightfully paradoxical associations.
